Word: max
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Dates: during 1980-1989
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...high points belong to King and MacGraw. He is Max, a fast-dealing, fast-talking zillionaire with a penchant for keeping women in overdecorated Manhattan pads. She is "Bones," a TV producer and longtime protégée who revolts against Max by making careerist demands and carrying on with an off-off-Broadway playwright (Peter Weller). King is too much of a pussycat to convey the hero's toughness, but he delivers Allen's best sallies with crackling speed ("I'll tell you who lives in New Jersey! Cousins live in New Jersey!"). Though MacGraw...
...other roles are well cast, but only Tony Roberts' gay Hollywood magnate is clearly drawn. Dina Merrill, while quite nutty as Max's institutionalized wife, is left stranded between farce and tragedy. The playwright is inconsistently written as both a pretentious aesthete and an idealized heartthrob; finally his plot strand peters out, and poor Weller disappears without explanation. By then, Allen and Lumet have forsaken both laughter and romance for some muddy philosophizing: Hollywood deal making, it abruptly turns out, is a metaphor for male-female relationships. Maybe so, but it is hard to believe that the creators...
...other works in the show are not clearly grouped in styles, but share common elements with pieces in all three rooms. In much of the work, abstraction combines with realism to produce ambiguous and often disturbing images. "The Fabulous Beast," a pencil sketch by Max Ernst, shows a half-organic, half-machine animal. A faint tracing of a sun in the background implies that this creepy creature inhabits Ernst's (and our) world...
...because the VA's normal facilities have failed to help enough of the roughly 500,000 veterans who suffer from what Government psychologists call "P.V.S."-Post-Viet Nam Syndrome. "We find a lot of the guys have turned off society and turned off the VA," concedes VA Administrator Max Cleland, who lost two legs and an arm in Viet Nam. He recalls his own struggle with P.V.S. all too well: "It was like a series of secondary explosions going off in my head. I was on an emotional rollercoaster, and I didn't know where I was going...
...twisting, linear energies, but also the eclectic products of a tonal impressionist like Jules Bastien-Lepage, with his soulful peasant girls in burlap, what can it mean? To what imaginable modernist context do the many style rétro canvases in this show belong?Giovanni Boldini's portrait of Mme. Max, for instance, or Albert Maignan's Passage of Fortune, 1895, with its gauze-veiled figure of Lady Luck bumping on her wheel down the steps of the Paris Bourse? In such respects, the show will do much to replace the "heroic" image of early modernism?the intransigents battling the Academy?...